Benjamin Aït-Ali is one of France’s heirs the the electroacoustic music mantle once held by the likes of Pierre Schaeffer and Pierre Henry.
This particular piece, dedicated to the sea, of all things, was performed at the SIME Festival in April of 2018. The piece was prepared the year before, inspired by events that led up to the passing of his father.
Canadian composer Bruce Haack is credited with being among the first electroacoustic composers to be influenced by psychedelic music with this Moog-heavy release, just reissued by Canadian record label Telephone Explosion. From his Wikipedia page:
As the 1960s progressed and the musical climate became more receptive to his kind of whimsical innovation, Haack’s friend, collaborator, and business manager Chris Kachulis found mainstream applications for his music. This included scoring commercials for clients like Parker Brothers Games, Goodyear Tires, Kraft Cheese, and Lincoln Life Insurance; in the process, Haack won two awards for his work. He also continued to promote electronic music on television, demonstrating his homemade device encased in a suitcase on Mister Rogers’ Neighborhood in 1968, where he sampled a song by the Rolling Stones entitled “Citadel”. He released The Way-Out Record for Children later that year.
Kachulis did another important favor for his friend by introducing Haack to psychedelic rock. Acid rock’s expansive nature was a perfect match for Haack’s style, and in 1969 he released his first rock-influenced work, The Electric Lucifer. A concept album about the earth being caught in the middle of a war between heaven and hell, The Electric Lucifer featured a heavy, driving sound complete with Moog synthesiser, Kachulis’ singing, and Haack’s homegrown electronics including a prototype vocoder and unique lyrics, which deal with “powerlove” — a force so strong and good that it will not only save mankind but Lucifer himself. Kachulis helped out once more by bringing Haack and Lucifer to the attention of Columbia Records, who released it as Haack’s major-label debut.
As the 1970s started, Haack’s musical horizons continued to expand. After the release of The Electric Lucifer, he continued on Lucifer’s rock-influenced musical approach with 1971’s Together, an electronic pop album that marked his return to Dimension 5. Perhaps in an attempt to differentiate this work from his children’s music, he released it under the name Jackpine Savage, the only time he used this pseudonym.
This must be a great week for Bandcamp. This release features a young Mexican composer called Roberto Romero Molina, whose work falls somewhere between electroacoustic music and something reminiscent of a sci-fi movie. A short, but brilliant, release.
The elder statesman of electroacoustic music, Pierre Henry, with a composition that could almost pass for dubsetp these days.
Though she wasn’t quite as famous as David Bowie, Lemmy or Glenn Frey, Else Marie Pade’s loss does damage to the electroacoustic community, as she had collaborated with some of the field’s giants. RIP.
Michèle Bokanowski composed this piece for Metamkine Records in France. It was featured in a series called Cinéma pour l’oreille, which were released as 3-inch CDs.
One of Bernard Parmegiani’s 21st Century compositions. Still very much avant-garde.
Holy smokes! The legendary INA-GRM Record Label out of Paris, France, which housed some of the most legendary names in electroacoustic and avant-garde music, has decided to release selected titles as downloads via Bandcamp, and at reasonable prices!
An updated version of this post, as an error by GoDaddy, who hosts this site, ate it. Hopefully, I have no more missing posts.